As I rummage through a stack of photos the memories of this and that plus who’s what and where rush in helter skelter. There’s a lot to swallow on screen and off (most of it from Oriental kitchens) but there are dashes of the even more exotic as the viewer glimpses renderings of the indigestible here and there (but mostly above and beyond!).
We Were Hardly More Than Children tells an epic tale of an illegal abortion, as lived by two women on a perilous journey through a world that has little concern for their survival.
Paintings by Diane Messinger.
Music by Renato Umali.
Lena and friend: Flora Coker and Cecelia Condit.
Dear features the interior world of two teenage Chinese girls in New York City, whose diary entries reveal their concerns related to growing up as immigrants amidst the ever-gentrifying landscape of Chinatown.
Performers: Anna Yu, Shu Xia Zhao
Cinematography: Steve Cossman
Voice: Joanna Lin, Shu Xia Zhao
Music: Ikue Mori
Production: Xiao Li Tan
The unstable earth becomes the epicenter of this videotape document which explores—in a fractured way—the relationships between the people, places, and furniture that sit atop the San Andreas Fault.
Christmas is here again in this diary of glittering gifts, furry friends, underground movie making, and grotesque greetings. A veneer of good cheer coats the surface like thin ice, so proceed with caution!
The personal odyssey recorded in The Laughing Alligator combines methods of anthropological research with diaristic essay, mixing objective and subjective vision. Recorded while Downey and his family were living among the Yanomami people of Venezuela, this compelling series of anecdotes tracks his search for an indegenous cultural identity.
The viewer is whisked through a lovely cat-house, which also includes a turtle along with the whiskered pets, and then is suddenly immersed in the painted output of my old (yet still young and vibrant looking) friend, Michelle Joyce. We follow this cheerful personage on a tour of her studio and then get transported to a high-class arts center in midtown Frisco where the work is displayed to a variety of yapping youth in yo-yo mode.
Alienation in academia beneath the chandeliered opulence of a political correctional facility that caters to clashing cultures with chicken fajitas and carefully worded alphabet soup. Features George at the Flaherty Seminar and the Chicago Underground Film Festival.
A rumination via handwritten index cards and an assortment of images recalling histories and ambitions of varied film productions.
A short atmospheric tour of a movie star’s mansion and a glimpse of the living things within the chambers: things that cook, feed the sharks, and gnaw on bones.
Laurel Klick and I were members of the feminist art program at CalArts and became close lifelong friends. Laurel is behind the camera as I recount my one-sided flirtation with a guy who worked at CalArts in the equipment “cage” - the cage where I checked out the video Portapak - the Portapak we utilized to record my anecdote. My story about an everyday interaction would become a trademark of my work. “Laurel and Susan” was not edited or presented publicly until 2022.
The season sweeps through in a blur of glitches, gulps and sweetened goo, as chimes wring out the old and ring in the new.
The latest in Marie Losier's ongoing series of film portraits of avant-garde directors (George and Mike Kuchar, Guy Maddin, Richard Foreman), DreaMinimalist offers an insightful and hilarious encounter with Conrad as he sings, dances and remembers his youth and his association with Jack Smith.
Taped in Normal, Illinois, during the height of autumn, a snapshot of a young girl triggers a meditation on dying innocence and sizzling sausages as a low, winter sun ignites the smoke of greasy longings and meat-eating hunger.
This title is also available on The World of George Kuchar.
The rivers are in flood stage during a scenic tour of Tulsa; while in El Reno, Oklahoma, it's as dry as a two-week old peach cobbler. The locals puff up on breaded catfish while an influx of British visitors seek in vain a vegetarian platter amid the thunder boom and hail clatter.
The Hundred Videos is a project undertaken by prolific video artist Steve Reinke, including 100 video works made from 1989-1996. Discussing death, sex, the body, philosophy, and contemporary art, The Hundred Videos defines a unique style of video-essay for the end of the 20th Century.
"Each disquieting image breaks down into a pixel, each pithy phrase into a word, and Reinke's stream of video-thought continues apace. The corpse won't stop talking."
— Jon Davies, Images Festival: Spotlight Essay, April 2018
Susan Mogul's first video diary work, produced two years before Everyday Echo Street: A Summer Diary (1993), follows the artist on a trip though Eastern Europe immediately after the fall of the USSR. Through discussions with various characters about politics, art, and each others personal lives, Mogul creates a video time capsule of social life in Poland, then Czechoslovakia, and former Yugoslavia.
The ground is frozen and the whiteness hides the carcass of a thing that once was happy... but now maybe had gotten gassed by things undigested. The bones of once-mighty and blubbery beings stand erect among midgets or dangle around the necks of dormant cannibals destined for a likewise extinction and yet, there is hope. As long as there is still a little meat on those bones our appetite for living goes on.
Small-town friends watch fuzzy TV, play music, and venture to the video store. Mom bakes a cobbler. The filmmaker fucks his boyfriend in the bedroom above the kitchen.
The five-and-dime store pulsates with the stench of she-who-shops. Follow this ragdoll apparition as she haunts the futuristic landscape of our buried past and rejoice in the resurrection of the cellar celebrity.
A sprawling look at chunks of our country as I travel back east to present some programs, and a peek at the venues that screen underground movies to the youth of today. The video also opens up big vistas of the West as I daydream about recent trips to mountainous terrain while admiring a plaster diorama of the Pacific northwest which I purchased at an all-you-can-eat restaurant in Pennsylvania.
Amid the greenery of what should be a White Christmas, there sits the blackness close to my heart; and beyond that there bellows a legion of behemoths who know not shame nor guilt. A homeless herd of heaven on earth that smell of fish and exotic ports of call. A call I fail to heed.
The New York City summer is fueled by the sultry emanations of hot air that tumble off the tongues of potential thespians as they attempt to decipher the gastric guesswork embedded in the prose of the pre-production process. The video camera flits across the boroughs of NYC in a splash-dash sojourn of sumptuous banquets and bohemian bombast, while the down-to-earth wisdom of the seeing impaired helps to guide the protagonist into detours of wisdom befitting his putrid project.
A multiple award winner, this experimental tape explores the psychological ramifications of a woman growing up under orthodox Islamic law. Resisting traditional definitions of a woman’s role in society as first and foremost a dutiful daughter or wife, Nanji struggles to find a space amidst the web of restrictive familial and societal conventions.
Endless Dreams and Water Between is a feature film with four fictitious characters sustaining an epistolary exchange in which their “planetary thought” is woven with the physical locations they inhabit, visual and aural characters in themselves: the island of Manhattan, the island of Majorca, in Spain, and the islands and peninsula that form the San Francisco Bay Area. The characters’ reflections and dreams enact what could be described as “an archipelagic mind,” linking worlds, time, and space.
